worry, the German ô; e the same). This was followed by a loud torkeeta, torkeeta, yerrick, eep-eep, yerp-eep-eep, w-a-y---w-a-y. The yerrick and yerp were pitched, I should say (I am no musician) at about F' above middle C; the eep at C above; the ter at middle C; the ta somewhere between middle C and F above (I could not find it on the piano; and the long drawn-out way also somewhere in that vicinity. The way begins with a crescendo and ends with a decrescendo. Mr. E.M. Nicholson refers briefly to Mr. Rowan's method of representing bird-song. I have not read Rowan's work, but based on Nicholson's brief outline, I would tentatively attempt to represent the song thus: C2 F C, Tor- Kee-ta, Tor-Kee-ta, yerrick-eep-epp yerp-eep eeppp way way There was much more than this, but this is all I can even with other song crudely approximate. This was kept up at intervals for 21 minutes. During this time Greenie was near the tool-house occasionally scrip- ping. I turned my head to see what was after the quail and when I looked again Brownie was gone. I went to the oval lawn and, as I sat down, thought I heard thrasher full-song off to the south-east and was about to leave to investigate it, (in order to get a definite rec- ord on the distance at which it can be heard), when I saw Brownie 25 feet away in the shade of the bushes, sitting on a stone. She was the singer. She gradually worked over towards me digging and singing under-song, which expanded into three-quarter song. This was an especially good example, and in it were incorporated the following imitations in which no imagination was required to identify the imitations, originals: Meadowlark, russet-backed thrush, quail, flicker, jay, hen, ground-squirrel, robin, whistling for the dog (interspersed with